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CFP: Panel at the Annual Conference of the Film and Media Studies Association of Canada (FMSAC)

May 27-29, 2023
York University, Toronto

The World of BL: Cringe, Hype, or Activism?

This panel addresses the increasingly global phenomenon of Boys’ Love (BL) shows that come out of Thailand, Korea, Taiwan, Japan, China, the Philippines, and Vietnam. They are available to Western audiences through platforms such as Youtube, Viki, Bilibili, or GagaOOLala. Recently, the genre was mentioned in articles both in The Times and The Guardian who emphasize their positive impact on the national economy and tourism industry, particularly in Thailand. Since its beginnings in 1960s Japan print culture, BL has expanded to other geographical areas and forms of media, including TV shows and web series. Despite its growing success, scholars and fans alike have identified BL’s many problematic aspects including dubious consent, binary heterosexual dynamics imposed on gay relationships (seme/uke), colorism, use of transgender characters for comic relief, marginalized female characters and misrepresentation of gay men. However, with more and more shows hitting the airwaves, especially in Thailand, viewers seem to notice a shift in the way BL shows deal with gay romance. Does BL start to (slowly) move away from the too familiar tropes repeated over and over again since the release of Sotus? Do shows such as Not me, Bad Buddy, I Told Sunset About You, Gaya Sa Pelikula, or A Man Who Defies the World of BL renew the genre with their focus on more complex coming-of-age stories, exploration of political issues, gay cast, and ironic self-awareness? Have more recent BL shows been able to diversify their audiences to include members of the LGBTQ+ community? Can BL shows actually be considered LGBTQ+ media, considering that they are often based on novels written by (straight) women for (straight) women? Is it meaningful to compare BL shows to examples of queer cinema from a scholarly perspective? Are there conclusions to be drawn from analyzing, for instance, Xavier Dolan’s Matthias & Maxime, Marco Berger’s Plan B, or Guadagnino’s Call Me by Your Name (2017) with I Told Sunset About You, Where Your Eyes Linger, or 2gether?

We invite papers of 15 minutes from scholars across disciplines who engage with these or other relevant questions about BL. Please send your abstract of 200 words to antje.ziethen@ubc.ca and mpoulena@student.ubc.ca The deadline for proposals is December 20, 2022. Accepted panelists will be notified by email in early January. All presenters have to be members of FMSAC at the time of Congress registration.

Please note that FMSAC is working with Congress to offer a limited number of virtual presentations on hybrid panels through its Zoom platform. The Conference Committee asks that, when you submit your proposal, to indicate whether you intend to attend Congress 2023 in person or wish to present virtually. While virtual presentation will be possible, please note that full Congress fees will be in effect for both in-person and virtual presenters given the costs involved in hosting participants both on campus and via virtual platforms. Please see more information here:

https://www.filmstudies.ca/conference/fsac2023

https://www.federationhss.ca/en/congress/congress-2023

 

A call for papers for the University of British Columbia’s peer-reviewed cinema and media studies journal Cinephile, published with the continued support of the Centre for Cinema Studies. Previous issues have featured original essays by such noted scholars as Lee Edelman, Slavoj Žižek, Paul Wells, Murray Pomerance, Ivone Marguiles, Matt Hills, Barry Keith Grant, K.J. Donnelly, and Sarah Kozloff. Since 2009, the journal has adopted a blind review process and has moved to annual publication. It is available both online and in print via subscription and selected retailers. This year, the incoming editor is Tamar Hanstke.

Submissions are due by January 16th, 2023.

Cinephile 17.1: New Lenses on Old Hollywood

No matter how many years have passed since the end of the Golden Age of Hollywood, this era never seems to leave the popular imagination. James Dean and Judy Garland remain household names; modern celebrities still seek to emulate the glamour of this bygone time; and audiences still go to see contemporary biopics and television shows about stars such as Marilyn Monroe, Joan Crawford, and Bette Davis. There is something about this moment in American moviemaking that grabbed the public’s attention and has never let go, even as the larger cinematic landscape continues to change dramatically.

Two of the many complex and interlinked ways to conceive of this phenomenon are as follows: One, more positive, approach is that the stars and films of this era spoke to their audiences in a specific way, one that resonates today because entertainment has become so much more polarized since the Golden Age. Star studies scholar Richard Dyer argues that the most successful stars of this past era were able to balance socially acceptable qualities with taboo ones, and larger film narratives acted similarly, confronting pressing social issues while simultaneously reassuring viewers with endings that restored the accepted social order. In our contemporary era, where there are increasingly uncrossable political lines dividing many of our societies across the globe, the idea that great social strife can end in reunification is comforting. This is, perhaps, one reason why these stars and films act as a kind of comfort food for many viewers today.

This leads directly into another, less positive, way of viewing the fascination with Hollywood’s Golden Era. This was a time of overwhelming racism, sexism, homophobia, and worker exploitation, all issues that were felt even by Hollywood’s biggest stars. It is fair to argue that looking back on this era with rose-tinted glasses only serves to veil the era’s social problems. Yet, as we look at the news headlines today in 2022, how much has really changed? Much of the social progress attained during this ‘golden’ era and directly after it is being slowly chipped away, so perhaps these old films have more to tell us than we might first suspect.

This issue of Cinephile seeks to answer the question of why the films and stars of the early 1930s through the mid-1960s continue to matter so much to us, and to find new ways to contextualize them in our contemporary moment. In this, it will attempt to find balance between overly positive and overly negative perceptions of Hollywood’s Golden Era, placing new lenses—be these social, political, theoretical, or otherwise—onto these classic films.

Possible topics may include (but are not limited to) the following:

  • Golden Age films and/or stars as sources of comforting nostalgia
  • The enduring legacies, either positive or negative, of specific films and/or stars from this era
  • Applications of contemporary theoretical models to Golden Age films
  • The parallels and/or divergences between the entertainment culture of the Golden Age and the one existing today
  • Viewership during the Golden Age as compared to contemporary viewership
  • Contemporary Hollywood’s efforts to increase positive feelings toward the Golden Age (e.g., production of biopics about and homages to this era, remakes of classic films, theatrical re-releases of classic films, etc.)
  • Social and/or technological developments in Hollywood during this era that remain relevant today
  • Issues of censorship and/or copyright in contemporary distribution of this era’s films
  • Parallels between the Motion Picture Production Code and modern-day film censorship, national ratings boards, etc.
  • The use of Golden Age iconography in unexpected modern contexts (e.g., online memes featuring classic stars, household items bearing the faces of Monroe or Dean, etc.
  • New pedagogical approaches to teaching Golden Age films

We encourage submissions from graduate students, postdoctoral researchers, and established scholars. Papers should be between 2,000-3,500 words, follow MLA guidelines, and include a detailed works cited page, as well as a short biography of the author. Submissions should be directed toward SUBMISSIONS@CINEPHILE.CA and general inquiries toward INFO@CINEPHILE.CA.

 

CALL FOR PARTICIPANTS! – Toronto Queer Film Festival Symposium 2023

TQFF is seeking proposals for its annual Symposium around the theme of Queer Wonderlands! Queer Wonderlands invokes realms full of transitions, joy, and love, inspired by imagination with the anticipation of what is to come.

Calling on the Queer imagining that occurs through the uncanny, monstrous, whimsical, and fantastical. We invite participants to step into a world of collective visioning where all 2Spirit/Queer/Trans people and communities thrive in an environment of wellness, protection, connection, and sustainability of this existence.

⁠⁠Submissions to Queer Wonderlands symposium may consider the questions: ⁠⁠

How can we, as 2Spirit/Queer/Trans people, shape our worlds and possibilities for the future through imagined existences that defy reality? What is the potentiality of 2Spirit/Queer/Trans creatives invoking hope and joy through their portrayal of 2Spirit/Queer/Trans characters thriving in environments visioned to sustain them? How is 2Spirit/Queer/Trans world building in cinema and new media an act of resistance by rejecting the violence of colonialism, heteropatriarchy, and cisnormativity?

⁠⁠This symposium will be held online.

We are particularly interested in submissions that take full advantage of the capabilities of online platforms. Individual papers and presentations should be no more than 15 minutes. Roundtables, workshops, panels, etc., should be no more than 1 hour, including an opportunity for Q&A.

We will also accept submission for proposals with shorter durations (i.e. lightning talks, microsessions, Pecha Kucha, etc).⁠⁠

Everyone is welcome to apply!

Only selected participants will be notified of their acceptance by December 1st, 2022.⁠⁠

This is a paid opportunity for all involved. ⁠⁠

Proposal Deadline: Monday November 21, 2022, @ 5PM EST.⁠

Click here to submit

 

An in-person academic conference hosted by The Centre for Film, Television and Screen Studies, Bangor University, UK

Early September 2023

Paul Verhoeven (b. 1938) has left an indelible mark on popular culture. His films marry a European arthouse sensibility with the US blockbuster but in a wickedly satirical way. But this does not mean his films are not open to criticism.

His American dystopic trilogy – RoboCop (1987), Total Recall (1990) and Starship Troopers (1997) – provided dark visions of futuristic metropoles that continues to resonate to this day, touching on capitalism, robotics, biopolitics, posthumanism, urban planning, artificial intelligence, transhumanism and climate change, while female-led dramas, such as Basic Instinct (1992), Showgirls (1995), Black Book (2006), Elle (2016) and Benedetta (2021), remain controversial for their overt eroticism, sexual violence and representation of lesbianism.

To critically explore the origins and legacies of Verhoeven’s body of work, this conference proposes to bring together scholars from diverse disciplinary backgrounds to explore Paul Verhoeven’s output, debate its legacy and consider its position within visual culture including specialists from fields as diverse as literary and cinematographic studies; the history of art, design, fashion and architecture; musicology; philosophy; political sciences; computer science and robotics; urban and ecological studies; and feminist, queer and sexuality studies.

We welcome contributions from any perspective such as (but not limited to) the following:

  • Paul Verhoeven as auteur: origins, influences, production, aesthetics, publicity, reception, afterlife, sequels and director’s cuts
  • Paul Verhoeven and biopolitics, posthumanism, urban planning and climate change
  • Paul Verhoeven and capitalism, neoliberalism, post-industrialism and the rise of multinational corporations
  • Paul Verhoeven and gender
  • Paul Verhoeven and memory
  • Paul Verhoeven and psychoanalysis
  • Paul Verhoeven and race, ethnicity and Otherness
  • Paul Verhoeven and reception: audiences, fandom and ‘cult’
  • Paul Verhoeven and robotics, artificial intelligence, cybernetic organisms, the transhuman and the post-human
  • Paul Verhoeven and science fiction
  • Paul Verhoeven and sexuality
  • Paul Verhoeven and stardom
  • Paul Verhoeven and tech noir, retrofuturism, future noir, and cyberpunk.

We are applying for funding to facilitate postgraduate and unwaged participation.

Please complete the following link by 1 April 2023.

For further information, please contact the organisers Nathan Abrams and Elizabeth Miller (PaulVerhoevenConference@gmail.com).

 

The CFP for the 2023 FMSAC/ACÉCM Annual Conference is now available here: https://www.filmstudies.ca/conference/fsac2023

 

University of Toronto Quarterly (UTQ) is currently seeking submissions. Established in 1931, UTQ publishes innovative and exemplary scholarship from all areas in the humanities. The journal welcomes articles, in English or French, on art and visual culture, gender and sexuality, history, literature and literary studies, music, philosophy, theory, theatre and performance, religion, and other areas of the humanities not listed here. As an interdisciplinary journal, UTQ favours articles that appeal to a scholarly readership beyond the specialists of a given discipline or field. The editorial board is especially interested, although not exclusively, in research that addresses topics of particular relevance to Canada. UTQ is therefore enthusiastic about submissions in Asian Canadian Studies, Black Canadian Studies, Canadian Literature, Canadian History, Canadian Studies, Diaspora Studies, and Indigenous Studies. The journal, more broadly, embraces research that engages interdisciplinary sites of scholarly inquiry, such as Affect Studies, Black Studies, Critical Disability Studies, Critical Race Studies, Digital Humanities, Environmental Humanities, Media Studies, Medical Humanities, Sound Studies, Transgender Studies, and emergent fields within the humanities. UTQ is published by the University of Toronto Press.

Submissions should normally be between 7,500 and 12,500 words in length inclusive of footnotes and bibliographic material. Additionally, all submissions should be accompanied by an abstract (150-250 words). UTQ’s house style is based upon the MLA Handbook (7th edition), so please format submissions in accordance with MLA bibliographic guidelines. Substantive or discursive amplification should appear in judiciously selected footnotes. All text, including footnotes and Works Cited, should be double-spaced. Please do not justify right margins.

UTQ does not accept research that has already been published, nor does the journal accept submissions currently under consideration elsewhere. The journal does not publish poetry or fiction.

Please anonymize submissions by removing all self-identifying information from the article, including acknowledgements and self-citations (reference your own scholarship as you would any other scholar). When saving the file, remove all personal information from the file on save.

UTQ commissions external reports to assess the quality of each submission. The journal receives numerous submissions and only submissions that the editorial board deems most appropriate for the journal, and most likely to receive recommendations to publish from experts, are sent out for peer review. The review process is doubly anonymous. Authors should expect to receive a response in the form of an editor’s report that collates relevant and useful information drawn from 2 to 3 external reports alongside the internal comments of the editorial board. Peer review takes approximately three to four months.

UTQ regularly publishes special issues on the range of subjects listed above. If interested in proposing a special issue and serving as its guest editor, contact the editor, Professor Colin Hill, at colin.hill@utoronto.ca

Please send all submissions and inquiries to utquarterly@gmail.com

 

CFP DEADLINE EXTENDED

FOOT 2023 Call for Papers, Performances, and Panels for We Live Together


Submission deadline extended: November 1, 2022

The 31st annual Festival of Original Theatre (FOOT) conference at the University of Toronto’s Centre for Drama, Theatre, and Performance Studies invites proposals to our conference “We Live Together” taking place February 9-11th, 2023.

“We Live Together” is as much a question as a mission statement. This phrase suggests broad responsibility to each other, to the sciences, to supporting movements toward social justice, to realizing indigenous protocols, to engaging with economics, and to fighting for ecosystems.

Together prompts us to grapple with a variety of contradictions between individuality and community, hospitality and hostility, and solidarity and exclusion. Working within these contradictions, we call on performance to create spaces in which we can imagine ways to live a future together. Together as human beings who, despite individuality, desire to connect with one another and with other species in virtual and physical spaces. Together as new communities emerge to demand equity, recognition, and conversation. Together across national and political borders. Together across disciplinary and institutional barriers. Together as lives on a planet facing challenges that require global actions for survival.

We are interested not only in the what, but the how: How do we story-tell and world-build in the academy and outside of it, in theatre spaces and communities, in the virtual and IRL worlds? How do we begin not only to imagine, but also to enact new modes and models of being and living together?

We invite engagements which consider the interactions of bodies, presences, communities, ecologies, economics, and ecosystems, as well as conversations around life and liveness, community and public life, persistence, and survival. We encourage critical reflections on togetherness, the common/commons/undercommons, and conversations around who is included in “we.”

Possible topics include:

  • Artistic collectives and collective creation
  • Intersections and interactions across identities
  • Political solidarity, activism, and performance
  • Performing conflicts and differences
  • Transcultural performances, multilingualism, and globalization
  • Strategies for encounters, sharing, and cohabitation
  • Coexistence across species
  • Utopian imaginations of multiplicity and diversity
  • Technology and social/cultural connections
  • Multiverses and pluriverses
  • Fabulations, storytelling, and world-making

We welcome proposals from students, scholars, practitioners, artists, industry professionals, and adventurers. Presentation formats include:

  • Paper presentation
  • Creative/embodied presentation
  • Curated panel discussion
  • Roundtable discussion
  • Workshop
  • Reading
  • Performance
  • Screening
  • Game

Please prepare a proposal (max 300 words) and biography (max 150 words per participant) to be submitted via our online application forms by no later than November 1, 2022. For applicants proposing a curated panel, you will be responsible for securing the presenters; the conference organizers may assist in the process if needed. If you have any questions, please feel free to contact the organizers at foot2023.cdtps@gmail.com.

Visit UofT.me/FOOT2023.

About FOOT
The Festival of Original Theatre (FOOT) is the annual conference held by the Centre for Drama, Theatre, and Performance Studies at the University of Toronto. Organized by graduate students at the Centre, its goal is to provide scholars and artists an outlet to showcase, critique, review, perform, discuss, and analyze the changing world of drama, theatre, and performance.

 

CFP: Exhibition in Crisis, Aniki 10, no. 2

The COVID-19 pandemic has led to a generational crisis for film exhibition around the world, as movie theaters have been forced to close their doors temporarily or permanently, alter their modes of presentation and the parameters of the theatrical experience, and otherwise transform their operations. But COVID-19 is certainly not the first crisis in film exhibition, nor the only one that is currently in progress. For the editors of this special section of Aniki, the pandemic has instead drawn attention to the transformative effect that crises past and present have had on film exhibition as a mode of cultural practice, a set of institutions and actors, and an object of research in film and media studies. In this dossier, we investigate the concept of crisis in the study of film exhibition and the crises that have altered cinemagoing practices over time, opening up opportunities to analyze a broad array of historical and cultural impacts in the process. In this, we follow the work of authors like Laura Baker (1999), Phil Hubbard (2003), and Gary D. Rhodes (2011), who have studied risk, danger, vice, and violence at the cinema; in addition to these issues, we hope to illuminate crisis in its philosophical, existential, and disciplinary forms. In soliciting and selecting papers, we seek to develop an international scope on these issues that is truly global, while remaining open to submissions that study cinemagoing from any geographic location.

Film exhibition’s death has been declared many times in the hundred and twenty years preceding its most recent existential crisis. In assembling this section, we do not wish to replicate narratives of exhibition’s long decay or inevitable demise; instead, we root our development of this dossier in a consciousness of film exhibition as a longstanding cultural experience that has persisted in part due to its changeability, adaptability, and its modulation of crisis. While the exhibition industry is heterogeneous and its fate is still indeterminate, looking beyond exhibition as a highly systematized commercial practice helps us to expand our understanding of the effects of exhibition’s historical crises. In this, we recognize the work of scholars like Anat Helman (2003), Nicholas Balaisis (2014), Donna De Ville (2015), Solomon Waliaula (2018), and James Burns (2021), who have drawn attention to cinemagoing practices that often take shape outside the traditional movie theater industry or film festival circuit. This framing does not preclude moments of loss, degradation, or failure in particular modes of cinemagoing, but nonetheless allows us to grasp crises as coinciding with moments of transition and adaptation instead of the dead ends so often predicted in popular narratives about theatrical exhibition.

This moment of crisis in theatrical exhibition coincides with corresponding crises in film studies and film historiography. The first issue concerns archival access and research. Since the beginning of the pandemic in late 2019, access to global archives has vacillated between impossible and unpredictable. This has had a deleterious and global impact on film historiography and, therefore, the study of theatrical exhibition and moviegoing. In addition, inequities within government and other support of these archives have led to local, regional, and national crises for scholars seeking archival materials. Other crises within the study of film exhibition are evergreen. Recent exhibition research, such as that done by scholars of “new cinema history,” has made major strides in research on cinemagoing forward within film studies (Maltby, Biltereyst and Meers 2011; 2019). But the continued US- and Eurocentrism of film exhibition research in which the largest number of monographs, edited collections, and peer-reviewed articles are written in English and/or focused on issues related to exhibition or moviegoing in Europe or North America is an issue that requires redress. Work by Luciana Corrêa de Araújo (2013), Laura Isabel Serna (2014), Nolwenn Mingant (2015), Lakshmi Srinivas (2016), Laura Fair (2018), and Jasmine Trice (2021) offer compelling examples of the possibilities for global cinema research. Even outside Europe, the United States, and Canada, however, English is still the lingua franca in the large cache of research written on this topic, such as in work from or on Australia, India, and South Africa. Research by Rodrigo Fagundes Bouillet (2020) that brings film exhibition history closer to ethnic-racial relations studies in Brazil, and by Diana Paladino (2018) and Pedro Butcher (2019), on Latin-American histories of film distribution, suggests emerging efforts in this area that we aim to further. With these geographical, linguistic, structural, and other issues in mind, we seek new works from around the world that see an opportunity within our disciplinary and global crises to generate and disseminate new questions, new arguments, and new vistas for research. We also hope to take advantage of the transnational backgrounds of our editors who hail from Brazil, Canada, and the United States and our venue in a multilingual journal to seek new foci and new research written in Portuguese, Spanish, and English. For us, the film exhibition crises of the past, present, and future and the internal crises of archival access and Eurocentrism present opportunities and not just challenges for the creation of new directions and new models of research on film exhibition.

We seek new work on moments of crises for specific exhibition venues:

  • Drive-ins
  • Repertory and second-run theaters
  • Arthouse theaters
  • Microcinema or transitory cinema spaces
  • Multi- and/or megaplexes
  • Nickelodeons
  • Movie palaces
  • Rural and quotidian moviegoing
  • Segregated movie houses

Or specific movie theater-related issues such as:

  • Concurrence with other leisure activities
  • Adaptation to crises (economic, health, social, etc.)
  • Distributor versus exhibitors’ interests
  • Content availability, theatrical windows
  • Exhibition technologies
  • Local films and local theaters
  • Preservation of materials and/or sites
  • Adaptation of theatrical spaces to multiple uses
  • Race, gender, and/or class in cinemagoing practices

We welcome any and all soft inquiries about new or ongoing research that might fit our special issue. Mostly, we are seeking a wide variety of scholars and scholarship to help drive new directions and new questions related to film exhibition precisely at the moment when audiences are rediscovering the importance of collective viewing and in which the film and film exhibition industry are charting a path forward. How might this moment encourage us to think broadly about the crises of the past? How might it encourage us to think broadly about the crises of the moment in the way journalists, executives, and other scholars have over the past three years?

This special section is guest-edited by Rafael de Luna Freire (Universidade Federal Fluminense, Brazil), Charlotte Orzel (University of California, Santa Barbara, USA), and Ross Melnick (University of California, Santa Barbara, USA).

Rafael de Luna Freire is associate professor in the Film and Video Department and in the Film and Audiovisual Program at Fluminense Federal University, in Niterói (Brazil), where he is the head of the Audiovisual Preservation University Lab – LUPA. He also works as curator, researcher and film archivist. He is the author of numerous publications on Brazilian film history, including the books Cinematographo em Nichteroy: história das salas de cinema de Niterói (2012) and O negócio do filme: a distribuição cinematográfica no Brasil, 1907-1915 (2022).

Charlotte Orzel is a doctoral candidate and Chancellor’s Fellow in the Department of Film and Media Studies at the University of California, Santa Barbara who holds an MA in Media Studies from Concordia University. Her doctoral research analyzes the recent history of film exhibition in the United States and Canada and the way shifts in exhibitor practice reflect changing industrial visions of cinemagoers. She has also written about film historiography, IMAX, cinema advertising, and the international ownership of cinema chains, and presented work at conferences hosted by the Society for Cinema and Media Studies, the Canadian Communication Association, the Film Studies Association of Canada, and the Histories of Moviegoing, Exhibition and Reception scholarly network.

Ross Melnick is professor of film and media studies at University of California, Santa Barbara. He was named an NEH Fellow (2015) and an Academy Film Scholar (2017) for his book, Hollywood’s Embassies: How Movie Theaters Projected American Power Around the World (Columbia University Press, 2022). He is also the author of American Showman: Samuel ‘Roxy’ Rothafel and the Birth of the Entertainment Industry (Columbia University Press, 2012), co-editor of Rediscovering U.S. Newsfilm: Cinema, Television, and the Archive (AFI/Routledge, 2018), and co-founder of the Cinema Treasures website.

The deadline for submitting original and complete articles is 15 January 2023.

All submissions received within the deadline will undergo a selection process (by the editors), followed by blind peer review (by external reviewers). The texts should not be longer than 8000 words, and must include, in English and Portuguese (and also Spanish, if that is the language used): a title, an abstract of up to 300 words and a maximum of 6 keywords.

Before submitting your complete article, please read the full instructions here.

For any queries, please contact: aniki@aim.org.pt.

 

UCLA – IN CAHOOTS

Disciplinary Crossings & a Future for Performance Studies

02/15/2023 – 02/17/2023


Online Graduate Student Conference presented by UCLA Department of Theater & the Center for Performance Studies

Call for Papers ————– Due 11/10/2022

Like performance studies, ‘in cahoots’ is a phrase with “murky origins”1 – etymologies have been traced without a clear beginning, perhaps from cohort or cahute (adjacent to cabin or hut). Meaning partnership, colluding, or working together, often in secret, the term itself is in cahoots: cahoots is rarely if ever used as a stand alone word. Similarly, performance studies is never stand alone, but in constant relations with a constellation of fields, from linguistics and anthropology, to queer and critical race theory. This type of conceptual entanglement drives UCLA’s Center for Performance Studies Graduate Student Conference: “In Cahoots: Disciplinary Crossings and a Future for Performance Studies.” Following our 2021 conference theme of ‘Contact,’ we invite graduate students to reflect on the promises and challenges of being “In Cahoots” with multiple discourses, fields, and methods.

New research trends have seen many scholars bringing together odd bedfellows that raise new challenges: How might a keyword track across fields? Is it possible to reconcile the goals of humanities and science? Where is the department “home” for this new brand of research? Performance studies has already positioned itself as a tempestuous and unruly younger sibling amongst longer standing fields. Interdisciplinary by nature, it is an elastic framework that can pierce holes in academic silos. This conference aims to build alliances for interdisciplinary performance scholars working between and across fields. Though our research projects may vary dramatically (and we hope they do) we still grapple with many of the same murky obstacles. This is a unique and intimate conference that will give a platform to these discussions for exciting new scholars working on the bleeding-edge of interdisciplinary research. We will be in cahoots.

What to Submit

Bring your research that is ‘in cahoots’ as an abstract for a 7-10 page paper of your interdisciplinary research, wherever it is. The paper should somehow reflect an approach that blends/incorporates/weaves performance studies + ________.

We will use our research papers as a starting point for conversations around working between fields. Some of our interests include: the challenges and opportunities of interdisciplinary research in performance studies, whether that is practice-as-research, working across multiple departments, or even across methods. Additionally we hope this brings together discussion of potential futures for performance studies from graduate student perspectives, including applying to jobs in outside departments or working with scholars in other fields. (Note: the paper does not have to be about working interdisciplinarily, but rather your experience as the author will fuel such discussions).

Topics & Key questions:

These questions are not for the paper to specifically address, but rather the papers will be a jumping off point for these discussions:

  • State of the field
  • What does your performance studies methodology include?
  • How do we define performance studies as a field (key terms, methodologies, etc). And how can this discipline inform other fields? Which keywords extend across fields?
  • How do other fields inform your understanding of performance studies (and its role in the landscape of the humanities)?
  • How does interdisciplinarity shape your methodology and key terms? To neologism or not to neologism?
  • Problems and possibilities with bringing sciences and humanities together? Other methodological chaos?
  • What are the implications of job market materials when applying outside of theater and performance studies? How do you work across fields, departments, methods?

Apply with an abstract (300 words or less) by 11/10/2022

Submit online @ http://tiny.cc/CPS2023

Contact Devon Baur (dbaur@ucla.edu) or Elizabeth Schiffler
(eschiffler@ucla.edu) with any questions

1 Zimmer, Ben. n.d. “‘Cahoots’: A Term For Hidden Scheming Has Murky Origins.” WSJ. Accessed September 2, 2022.
https://www.wsj.com/articles/cahoots-a-term-for-hidden-scheming-has-murky-origins-11579885683.

 

Colloque 2023
Du 27 au 30 mai

Université York, Toronto, Ontario, Canada
Campus Keele et Glendon
Appel à propositions de communications

Atelier 8
Mondes postapocalyptiques

Responsables d’atelier :
Jeri English, Department of Language Studies, University of Toronto Scarborough, jeri.english@utoronto.ca.
Pascal Riendeau, Department of Language Studies, University of Toronto Scarborough, pascal.riendeau@utoronto.ca

Un parcours de la littérature publiée depuis le début du 21e siècle confirme que le courant postapocalyptique constitue bien un phénomène mondial loin de vouloir ralentir (voir Nikou, 2022). Le cinéma n’est pas en reste; les séries télévisuelles non plus. Les œuvres d’auteurs, d’autrices et de cinéastes d’horizons variés qui écrivent et représentent la fin – surtout les désastres et autres catastrophes – abondent depuis deux décennies et se multiplient depuis le début de la pandémie. Précisons que l’expression « mondes postapocalyptiques » représente ici un moyen commun permettant de regrouper des œuvres qui montrent, décrivent et racontent la vie après une catastrophe, voire après une véritable apocalypse. La teneur de ces mondes postapocalyptiques ou « postcatastrophiques » varie beaucoup, mais ils misent souvent sur l’anticipation et s’inscrivent parfois de manière beaucoup plus évidente dans un univers de science-fiction. Dans Fabuler la fin du monde, Jean-Paul Engélibert affirme que la « prolifération actuelle […] s’articule à un discours savant qui, pour la première fois, prend acte de la possibilité effective de la fin du monde » (2019 :10).

Cet atelier cherche à explorer toutes les formes de mondes ou fictions postapocalyptiques en langue française (romans, récits, bandes dessinées, théâtre, films, séries télévisées), mais aussi les discours historiques, sociologiques et littéraires qui les accompagnent. En ce sens, il semble pertinent de s’intéresser ici au catastrophisme, ancienne théorie réactualisée, car « le catastrophisme a [désormais] partie liée avec l’écologie et la menace de catastrophes entraînées par l’action irresponsable des sociétés développées » (Walter, 2008 : 11). Les univers postapocalyptiques existent justement pour montrer la vie après : ce qui reste, ce qui est possible (ou non). L’accent de l’atelier est placé sur la production contemporaine, mais sans exclure l’étude de textes d’époques antérieures qui nous aident à mieux comprendre notre présent. Par exemple, la stérilité et la fin de la race humaine s’avèrent une préoccupation majeure dès Le dernier homme de Jean-Baptiste Cousin de Grainville (1805), premier texte moderne de fiction spéculative ; des échos de cette angoisse se trouvent aujourd’hui dans les univers cinématographiques et télévisuels et dans la littérature. Il en est de même pour le court-métrage expérimental de Chris Marker, La jetée (1962), qui met en scène la destruction de la terre causée par la Troisième Guerre mondiale. Par la suite, nombreux sont les textes, les bandes dessinées et les œuvres télévisuelles qui s’engagent dans une réflexion sur l’annihilation de la planète.

Dans la littérature contemporaine, l’apocalypse est rarement présentée comme une situation menant à la possibilité d’un nouveau royaume (Engélibert, 2013). Il s’agit peut-être davantage, pour reprendre Catherine Coquio, de voir « ce que chacun, face à l’idée de fin du monde ou à la fin effective d’un monde, entreprend de “sauver” et de penser du monde à venir » (2018 : 15). Les fictions postapocalyptiques (ou « postcatastrophiques ») récentes en français offrent un éventail de possibilités considérables pour illustrer les mondes qui pourraient encore exister après ce qui s’apparente à une véritable fin. Du côté de la France et de l’Europe francophone, depuis Moi qui n’ai pas connu les hommes (1995) de Jacqueline Harpman, un grand nombre de romans marquants s’inscrivant dans un univers semblable ont paru. Pensons à Des anges mineurs d’Antoine Volodine (1999), Le goût de l’immortalité (2005) de Catherine Dufour, Le dernier monde (2007) ou Le grand jeu (2016) de Céline Minard, ou encore Après le monde d’Antoinette Rychner (2020). Au sein du corpus québécois, la littérature postapocalyptique a explosé depuis une quinzaine d’années. On peut mentionner : Le roi des rats (2015) de Joël Casséus, Le poids de la neige de Christian Guay-Poliquin (2016), Figurine (2019) d’Annie Goulet, Aquariums de J. D. Kurtness (2019) ou Après de Jean-Pierre Charland (2021). Enfin, les films et téléséries produits en français – scénarios originaux et adaptations – qui représentent la fin témoignent également de l’importance de ce thème dans tous les médias. Citons, entre autres, Malevil (Christian de Chalonge 1981), adapté du roman homonyme (1972) de Robert Merle; Le dernier combat (Luc Besson 1982); Delicatessen (Marc Caro et Jean-Pierre Jeunet 1991); Le Temps du loup (Michael Haneke 2003), adapté de la trilogie Pièces de guerre (1983–1985) du dramaturge anglais Edward Bond; La possibilité d’une île (Michel Houellebecq 2008), adaptation par l’auteur de son propre roman (2005); Snowpiercer (Bong Joon-ho 2013), inspiré de la BD Le transperceneige (Jacques Lob et Jean-Marc Rochette 1982–1983); Feuilles d’automne (Édouard A. Tremblay, Steve Landry et Thierry Bouffard 2016); Les affamés (Robin Aubert 2017); et Jusqu’au déclin (Patrice Laliberté 2020).

Les propositions de communication peuvent être conçues à partir de problématiques ou de thèmes très variés qui visent des analyses de textes singuliers ou des études comparatives. Parmi les pistes de réflexion possibles, nous pouvons suggérer les axes suivants : le confinement, la route, la quête, l’anticipation, le présentisme, l’écologie, l’anthropocène, la religion, l’effondrement civilisationnel, la chute du patriarcat, les univers autochtones ou le posthumain.

Bibliographie
COQUIO, et al. (dir.) (2018), L’apocalypse : une imagination politique, La licorne no 129/Presses Universitaires de Rennes.
DE CRISTOFARO, Diletta (2019), The Contemporary Post-Apocalyptic Novel: Critical Temporalities and the End Times, Londres, Bloomsbury Publishing.
ENGÉLIBERT, Jean-Paul (2013), Apocalypses sans royaume. Politique des fictions de la fin du monde, XXe-XXIe siècles, Paris, Classiques Garnier.
ENGÉLIBERT, Jean-Paul (2019), Fabuler la fin du monde, Paris, Autrement.
FŒSSEL, Michaël (2012), Après la fin du monde. Critique de la raison apocalyptique, Paris, Seuil.
HARTOG, François (2012), Régimes d’historicité. Présentisme et expériences du temps, Paris, Seuil.
HICKS Heather J. (2016), The Post-Apocalyptic Novel in the Twenty-First Century: Modernity beyond Salvage. New York, Palgrave Macmillan.
NIKOU, Christos (dir.) (2022), Imaginaires postapocalyptiques. Comment penser l’après, Grenoble, UGA Éditions.
PAIK Peter (2010), From Utopia to Apocalypse: Science Fiction and the Politics of Catastrophe, Minneapolis, University of Minnesota Press.
WALTER, François (2008), Catastrophes. Une histoire culturelle. XVIe-XXIe siècle, Paris, Seuil.

Date limite pour l’envoi des propositions (titre, résumé de 250-300 mots, adresse, affiliation et notice bio-bibliographique de 150 mots) à pascal.riendeau@utoronto.ca et jeri.english@utoronto.ca : le 15 décembre 2022.

Le colloque annuel 2023 de l’APFUCC sera en personne (à moins que la situation sanitaire ne le permette pas) avec, possiblement, quelques activités ou interventions en ligne (nous communiquerons à ce sujet plus tard). Il se tiendra dans le cadre du Congrès annuel de la Fédération des sciences humaines du Canada.

Les personnes ayant soumis une proposition de communication recevront un message des personnes responsables de l’atelier avant le 15 janvier 2023 les informant de leur décision.L’adhésion à l’APFUCC est requise pour participer au colloque. Il faut également régler les frais de participation au Congrès des Sciences humaines ainsi que les frais de conférence de l’APFUCC.

De plus amples informations vous seront envoyées à ce sujet. Vous ne pouvez soumettre qu’une seule proposition de communication, présentée en français (la langue officielle de l’APFUCC), pour le colloque 2023.